Aomori Museum of Art
Its galleries imitate the walls of an excavation trench; it holds three of the four vast backdrops Chagall painted for the ballet Aleko.
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Its galleries imitate the walls of an excavation trench; it holds three of the four vast backdrops Chagall painted for the ballet Aleko.
A residency where artists come to make work, wrapped by a long concrete arc that Tadao Ando drew through the forest.
A Meiji cider factory turned contemporary art museum, on the site of three Yoshitomo Nara exhibitions, converted so the building keeps its memory.
Kogin stitching filled scarce hemp cloth with cotton thread; the workshop still does it by hand, inside Maekawa's very first building.
Festival floats shown beside working demonstrations of lacquer, kogin stitching and goldfish lanterns, close enough to question the makers.
A hall for gathering comes before the galleries here - a design argument that won the Architectural Institute of Japan prize.
Two 13th-century suits of armour, both National Treasures; the red-laced one is among the most ornamented to survive anywhere.
Each artwork gets its own white box, linked by glass corridors; the works spill outdoors until the whole street is the exhibition.
A Surrealist-inflected painter from this town, shown beside the collection of lamps from around the world he assembled.
Unglazed stoneware coloured only by wood ash, using local clay and earth dug from a former reservoir.
A twelve-metre fan-shaped lantern paraded through the town - a festival in which the painters of the warrior scenes are the principals.
Ship votive paintings hung beside framed topknots cut off in thanks for surviving the sea - folk art produced by maritime faith.
A seaside facility with a bathhouse looking over the bay, quietly running small exhibitions of local artists.
The coast where Kaii Higashiyama found the subject of his best-known painting - rock, turf and sea in bands.
The counterpart to Tsugaru kogin: counted on even threads, so its diamonds are built on a different geometry.
Nicknamed the fool's lacquer for its 48 coats, ground back to reveal a mottling made by eggshell and rapeseed.
Fan-shaped lanterns painted with a warrior on the front and a woman on the back - a festival that compares the painter's two sides.
Three-dimensional warrior figures of wire and paper, made from nothing each year by professional makers, and used once.
Next year's giant lantern is built inside the building all year, from frame to paper, wax and paint.